Stream A Good Woman Online
Vendredi, mai 21st, 2010 |
Stream A Good Woman Online.
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Is there such a thing as a awful movie made in Italy? Probably, but at least the scenery’s usually excellent. I can’t imagine A Sterling Woman working in a setting like Fresh York or London, but I don’t have to. It’s situation in 1930’s Amalfi, the perfect background for a legend like this one. Professional mistress Mrs. Erlynne flees to Italy when too many wives are on to her at home. On the ship, she notices a newspaper photo of a young couple, and she knows exactly what her next recede should be. The young wife is innocent and naive, and all sorts of innuendo and gossip go flying around Amalfi that season.
This is a woman’s represent, and Helen Hunt as the adventuress has never looked more aesthetic. Her scream, unfortunately, is rather too clipped and less sultry than it need to be, but in the demolish, she pulls of her role. Scarlett Johanssen is well-suited to her character, and both women turn out to be more than they seem at the destroy. Gorgeous wardrobe, very subtle music, and a delicate performance by Tom Wilkinson, as a jaded, expat Brit who has learned a microscopic something about reality and happiness, add to the success of this production.
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I’m now off to read the Oscar Wilde unique.
Some people like to skydive or rock climb for adventure. I must admit, at this stage in my life, adventure (for me) is jumping into a movie that I know absolutely nothing about and hoping for the best. Courageous, huh? Such is the case with the vaguely titled “A Pleasurable Woman.” I knew it starred Helen Hunt, Tom Wilkinson and Scarlett Johannson–and that was enough to lead me on the “adventure” of discovering this film. Imagine my surprise, then, (about a third of the design through) when a character named Windermere was purchasing a fan for his wife–and I suddenly realized I was watching a odd modernization of Oscar Wilde’s classic play aptly entitled “Lady Windermere’s Fan.” I felt heavenly foolish, I must admit–but I don’t entirely blame myself.
Instead of the claustrophobic drawing rooms in 1890’s England, “A Righteous Woman” is fashioned in Italy of the 1930’s (an uncommon choice considering the political climate at the time–which is conveniently never mentioned) . The Windermere’s are now Americans. And what was once Wilde’s comedy of manners has become a rather stilted drama with occasional one-liners that fans of Wilde’s works will search for. I certainly have no dilemma with re-imagining a classic work, such as this. But “A Respectable Woman” keeps the storyline of “Lady Windermere’s Fan” while jettisoning the elements that do it an effective social commentary. The intimate settings of the play put a world where gossip is an important fraction of daily life, the corrupt interactions are all anyone have to absorb their time. By opening things up to the Italian countryside, this seems to be less relevant. It’s as if the critical characters are engaged in a different movie from the supporting players who effect mockery of them.
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“A Salubrious Woman” tells the narrative of Mrs. Erlynne (Helen Hunt), a seductress that has made a career of manipulating the egos of wealthy men. After being chased from American society, she settles in Italy where her path crosses with a young aristocrat named Windermere and his bride (Johannson) . Windermere’s relationship with Mrs. Erlynne sets the tongues wagging. It’s best not to notify too noteworthy of the situation for those weird with the play–but again, the film’s screenplay loses remarkable of Wilde’s language, hotfoot, and intricate comedy. Only the talented and British supporting players, led by the sublime Wilkinson, seem to be trying to bear Wilde’s spirit.
Still, this is a magnificent production. But no amount of lush scenery and graceful costuming can camouflage the film’s truly fatal flaw. No offense to Helen Hunt, or her fans, but her interpretation of Mrs. Erlynne leaves noteworthy to be desired. With a stilted cadence to her speech and a pinched expression, Hunt never convinces us that she could be the irresistible creation that she needs to be. Johannson is somewhat vacant in her role, as well, but that is better disguised by her character’s naiveté. It is Wilkinson, in particular, that completely saves this production. With mighty needed humor and charm, “A Reliable Woman” is inexplicably salvaged by a man! While this isn’t poor by any stretch, it’s unlikely to send modern viewers to ogle out the works of Oscar Wilde–and that’s a accurate disappointment. KGHarris, 03/07.
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